A Brief Look At Two (((TV Miniseries))) That Have Instilled Weaponized Historical Narratives
I’ve often argued that our collective historical narrative has been weaponized against White people by the organized Jewish community, academia, and the mass media and “entertainment” industry centered in (((Hollywood))). Two historical narratives in particular have been entirely distorted and falsified in order to demonize and slander White people and our accomplishments as well as delegitimize any form of pro-White racial identity: the narrative explaining African slavery in early American history and the official narrative explaining WWII and the purported Jewish “Holocaust”.
Both of these historical narratives form the basic paradigms the vast majority of people in America understand our history and experience in this world. And both of these commonly accepted historical narratives endlessly promoted by the government, our educational establishment and, perhaps most importantly, the mass media and Hollywood are almost entirely false, as regular readers of this website are fully aware of.
These weaponized historical narratives, which portray Whites as evil, ruthless monsters, have literally been ingrained in the masses’ minds by highly exploitative, psychologically traumatizing and extremely emotional propaganda, as an article recently published in The Times of Israel demonstrates quite nicely.
The article highlights two television miniseries that were instrumental in introducing and instilling these anti-White, weaponized narratives of history that have been articulated and championed by radical Jewish intellectuals, “historians”, educators, filmmakers and pundits, demonstrating how powerful propaganda is in the hands of the (((hostile elite))) and their minions ruling our society.
Four decades ago, a pair of television miniseries shattered widespread reluctance to discuss two of history’s most traumatic chapters: the role of slavery in building America, and the Nazis’ genocide of European Jewry.
The miniseries genre that blossomed in North America and Europe during the 1970s took splashy, historic novels, and transformed them into consecutive evenings of “event” television. The casts were packed with far more stars than today’s productions, in part because the format allowed for numerous cameos and opportunities for actors to play against type. […]
Universally regarded as the first miniseries blockbuster, “Roots: The Story of An American Family,” aired in 1977. As many viewers’ first encounter with the cruelties of slavery, the 12-hour ABC production was watched by more than 80% of TV households, breaking several audience records.
At the center of “Roots” was the character Kunta Kinte, played by LeVar Burton. Captured by slave-hunters in the Gambia, he was brought to American plantations rife with violence, torture, and the destruction of families. The frank depiction of slavery was a revelation for many viewers, and university courses based on the subject proliferated. […]
The portrayal of slavery in America as depicted in “Roots” is one powerful representation of the traumatizing and psychologically exploitative propaganda pumped out of Jewish Hollywood specifically designed to attack White people on a deeply emotional level. It also impacted Blacks as well, who were made to believe their ancestors were mistreated, abused, hunted down and even raped by White slave-owners.
Generally speaking, Black slaves were viewed as valuable assets to a farm, plantation or household by White slave-owners, and were treated as such. Of course, the reality of Jewish involvement in the slave trade, the fact that Blacks and other non-Whites participated in and benefited from slavery, and other problematic facts which discredit the anti-White Jewish narrative of slavery were kept out of “Roots” for obvious reasons.
The article goes on to note the controversy surrounding Alex Haley, the original author of “Roots,” who basically fabricated the entire story while portraying it as an accurate representation of a slave’s experience in America. Incredibly, the article quotes Haley as admitting that “a lot of the book is fiction.”
Amidst the acclaim, “Roots” author Alex Haley became enmeshed in controversy when his narrative of being descended from Kunta Kinte was called into question. The author was accused of faking sources and stealing from another novel, “The African”. All this might not have mattered so much if Haley, in his appendix for “Roots,” had not specifically anchored the 6-generation saga to his own research, including oral histories and documents.
“Get six books about the Battle of Gettysburg and you’d think it was six different battles,” said Haley during an interview conducted before his death in 1992.
“The best any of us can do is do the best research we can and then try to create around that,” said Haley. “With ‘Roots,’ I worked my head off to research everything and still a lot of the book is fiction. How do I know what Chicken George said over a hundred years ago? I made it up.” […]
The article concludes by highlighting yet another powerful piece of Jewish propaganda that aired right around the same time as “Roots,” and which was directed by a Jewish director that just so happened to have also directed “Roots” (along with a number of other directors).
On April 16, 1978, more than a year after “Roots” altered the landscape of television, the miniseries “Holocaust” aired on NBC. Directed by Marvin J. Chomsky — one of several directors who worked on “Roots” — the 4-part miniseries clocked in at more than 9 hours.
Prior to “Holocaust,” most cinematic depictions of the Shoah had avoided staging atrocity scenes. The miniseries broke ground by “recreating” — for instance — a barn set ablaze with people inside, the execution pits of Babi Yar, and victims in the gas chambers of Auschwitz-Birkenau. At several points in the film, SS officers viewed slides of actual historical photographs taken of Holocaust atrocities, blurring lines between the archival record and TV melodrama. […]
Both “Roots” and “Holocaust” helped deepen interest in the past, including within families. Forty years later, few films about either slavery or the Holocaust have achieved the stature of these two productions: TV behemoths that shaped the transmission of history.
Clearly, these TV miniseries played central roles in instilling and institutionalizing the highly weaponized and distorted historical narratives explaining slavery in the United States and the so-called Jewish “Holocaust”. Unsurprisingly, both productions utilized extremely traumatizing imagery and dialogue to psychologically target and exploit their viewers in order to ingrain these weaponized Jewish narratives of history, which are designed to undermine White identity and demonize Whites collectively while advancing Jewish interests.
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